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A selection of the packaging for the annual Christmas CD compilation for 2010. All made using recycled materials, each one unique.
These timelapses have been filmed in my vacations to Sylt and to Scotland.
The music is by Kevin MacLeod and is licensed under a Creative Commons License
a diy label i made for a "best of" compilation i made some years back... yesterday i bought an md player from ebay... i'm gonna start collecting all the players and recorders... ima md collector biatch.
*A junk-collage of tv material*
Emile de Antonio turned the material of a famous live television event, the Army-McCarthy hearings in the United States in 1954, into a compilation film without the addition of any narration. Out of 188 hours of material he bought from ABC television, De Antonio edited Point of Order (1964), a 93 minute film that, according to himself, did not attack the person Joseph McCarthy, but the American political system that had created McCarthyism, the witch hunt for people who were supposedly involved in communist activities.
Aesthetically, De Antonio was influenced by painting and music. He says that his compilation film method is “a collage junk idea I got from my painter friends,” (Quoted in Rosenthal, Film Quarterly 31-1, 1978) referring to painters like Robert Rauschenberg who was working with collage techniques at the time. Music and painting showed him in the 1960s that people, viewers and listeners, are perfectly capable of making ‘a leap,’ that people can combine images, sound and voices into a story or discussion and that not everything needs to be explained to death by the film itself.
The techniques he is pointing at are for instance changing the image while the sound continues, shifting the sound when the image remains the same, freezing an image while the sound continues, and so on. Today these techniques are common sense in most genres of television and film, but even so, historic documentary films are still very reluctant to use them as rigourously as De Antonio for instance did to express the isolation of McCarthy at the end of the Army-McCarthy hearings. He combined images from several earlier moments in the hearings into one sequence where McCarthy continues to talk into the microphone while we see cut-aways from people getting up and leaving, and finally a shot of the empty hall.
The sequence is constructed by De Antonio out of material from several days but the meaning is true to what actually happened during the event: at the end McCarthy was no longer taken seriously and eventually he stood alone. De Antonio could have used narration to present that conclusion, but the sequence is stronger without it.
Aesthetically, De Antonio considers explanatory narration “boring as hell” and “too easy (…). When you come to a filmic problem you solve it by just having a voice telling you what it is” (Rosenthal, 1978); he prefers to rely entirely on filmic means to make his point. Politically, he considers using narration to explain everything has “a kind of contempt built into it” (Rosenthal, 1978), as if the viewers are not capable of understanding the film without all that narration.
All too often, the voice-over irons all controversy and discussion out of a film by creating a distance between the viewers and the people in the film. Such a use does not serve design research either, when research results need to raise discussion and create understanding rather than present fixed conclusions.
I did not find a tape or DVD of this film.
A selection of the packaging for the annual Christmas CD compilation for 2010. All made using recycled materials, each one unique.